Notes and Editorial Reviews

Reinhard Schwarz-Schilling (1904-85) stubbornly maintained his allegiance to tonality throughout the long dark night of the 20th century atonal avant-garde. It was a brave stance, especially in Germany, but it would have counted for nothing were he not a fine composer. You might call him the German Roy Harris. There is the same love of counterpoint, of widely spaced, "open" harmony, and the lapidary treatment of orchestral sonority. There is also, like Harris, a touch of clunkiness to the rhythm, especially in quick movements such as the Presto finale of the Symphony in C. Still, such is the confidence of the writing that this comes across (as so often in Bruckner and Hindemith) as an aspect of personal style rather than aRead more weakness.

The Introduction and Fugue, arranged for string orchestra from an earlier string quartet, is an extremely beautiful piece that deserves to enter the repertoire of chamber orchestras worldwide. The two symphonies are, as you might expect, more ambitious, and quite different from each other, though both utilize a basic three-movement form. The "diatonica" in particular is not merely diatonic in a soporific sense; there's plenty of contrast and dissonance, but in the same way that you find it in, say, Sibelius. These are very enjoyable, distinctive works, and José Serebrier, as so often, proves the most dependable possible guide to this offbeat repertoire. Both the playing and the sonics are very fine. Definitely worth hearing.